Audio Files

Collaborative piano I:

“Precious Lord” by Tommy Dorsey; Mel Butler, viola, with Una Hwang, piano. July 2021.

Collaborative piano II:

“GREEN” (Ariettes Oubliées, No 5) by Claude Debussy (text by Paul Verlaine); Melissa Fontaine, soprano, with Una Hwang, piano. In recital at Christ Episcopal Church, Tacoma, November 21, 2014.
“Come Ready and See Me” by Richard Hundley (text by James Purdy); Melissa Fontaine, soprano, with Una Hwang, piano. In recital at Christ Episcopal Church, Tacoma, November 21, 2014.
Letter Scene from Eugene Onegin by Pyotr Illyich Tchaikovsky; Melissa Fontaine, soprano, with Una Hwang, piano. In recital at Christ Episcopal Church, Tacoma, November 21, 2014.

Organ solo:

Finale. Allegro assai vivace (Sonata No 1 in F minor) by Felix Mendelssohn; Una Hwang, Fritts Op 6 organ at Gethsemane Lutheran Church, Seattle.
“Nun komm, der Heiden Heiland” BWV 659 by J S Bach; Una Hwang, Fritts Op 6 organ at Gethsemane Lutheran Church, Seattle.
Festive Trumpet Tune by David German; Una Hwang, Fritts Op 6 organ at Gethsemane Lutheran Church, Seattle.

Concert solos:

Lumière (Sept Meditations sur le Saint-Esprit, Op 6, No 7) by Jeanne Demessieux; Una Hwang, Möller organ. In recital at First Lutheran Church, Tacoma, July 6 2016.

Jeux d’eau by Maurice Ravel; Una Hwang, piano. In recital at First Lutheran Church, Tacoma, July 26 2017.

Musical Artistry Program 2019

Four of our students participated in the Musical Artistry Program adjudications this year. I was proud of each and every one of them! Thank you, Audrey, Karis, Aubren, and Mary Boyde for all your hard work!

Our adjudicator, Dr Debra Bakland, was formerly professor of piano at Burman University in Canada and Walla Walla University. She is a distinguished piano performer and pedagogue in the northwest. She praised all our pianists and chose Aubren to play her Bach Two-Part Invention in A minor for the honors recital. Mary Boyde is the alternate recitalist for her rendition of Khachaturian’s “The Horseman.” Congratulations, Aubren and Mary Boyde! 

Dr Bakland also gave both Audrey and Karis Honorable Mentions. Congratulations!  Good job everyone!!

The story in your music

Music has the power to heal.  The other day I had a terrible headache and an upset stomach just before a rehearsal.  I wasn’t sure I was going to make it through the rehearsal, but as it went on and I gave my attention to the music, I soon felt perfectly well.  People have known of the healing power of music and used music in this way throughout the ages, and yet, not all music heals.  What makes the difference between music that does nothing for us, or perhaps just dazzles us for a moment by its technical brilliance, and music that truly touches and heals our hearts and bodies?

It literally may have something to do with the beating of our hearts and the rhythm of our breath.  A beloved mentor of mine often used to hear me play and told me in his kindly way that I played too fast.  “Una,” he’d ask, “have you heard of tempo ordinario?  It’s about 60 beats to the quarter note…similar to your heartbeat.”  I sensed that there was something to this, but at the time, I argued back that everyone had a different heartbeat.  Of course that is true, but then again, we all know that a fast heartbeat and a short breath can be indicative of health problems or stress!  Over the years, I’ve come to appreciate more and more how important these ideas of the pulse and the “right” tempo really are.

Music is compelling when it tells us a story, though usually it is a story that unfolds without words.  When our breath and our pulse lock in with that of the music, we follow it with our full consciousness the way we follow a well-told story or a gripping movie.  This kind of immersion involves the entire brain–the analytic left side, the intuitive right side, and also the visceral brain, the seat of your emotions.

The physician John Diamond, in his book Your Body Doesn’t Lie, cited a survey of orchestra conductors and noted how long-lived they tended to be, and how they remained active and energetic to an advanced age.  He believes this is because they involved themselves primarily with the pulse of the music, and that they thereby reaped the benefits of rejuvenation and longevity from doing so.  Whether you aspire to live into your second century or not, let your music have a pulse and a breath that is harmonious with your body’s pulse and breath….and a story that comes from within you.

Orchestral Recital Series 2017

Last May, our studio participated for the first time in Tacoma’s wonderful Orchestral Recital Series, where students are given the opportunity to perform a concerto movement or other arrangement with a full orchestra!  Four studio pianists participated playing music by Noona, Vandall, and Mozart.  What a fun way to celebrate a lot of hard work and love of music with friends and family!  Well done, all!

Tristan takes a bow after a sparkling performance of the finale to Vandall’s Concerto in G:

Noelle poses elegantly at the piano after the concert:

All the performers for the evening, including our own Tristan, Maggie, Noelle, and Mary Boyde.  Congratulations!

Meet the Great Pianists: Vladimir Horowitz

The Russian-born pianist Vladimir Horowitz (1903-1989) is a true legend, and his name is still synonymous with the consummate piano virtuoso.  He electrified his audiences with his stupendous technique and his remarkable ability to draw out the tonal color of the piano.  He was also a nervous performer, and withdrew from the stage on numerous occasions.  Some of his many recorded performances are indeed messy, but at his best, he is a virtuoso without peer.  He enjoyed a twilight performing career in his eighties, when his playing was noted more for color, charm, and finesse than for the incredible bravura of his younger years.  His emotional intensity, technical ease, and sense of pianistic color, as well as his sheer delight in performing are all apparent in this performance of this Scriabin étude–one of his signature pieces.

What’s the best way to practice?

Your playing only improves as well as you practice, but what is the best way to practice?  Some aspects depend on your particular learning style, but here are a few general guidelines to consider:

  1. Don’t practice your mistakes!  Your brain doesn’t know which are the “right” or “wrong” notes in a given piece, it only knows what you train it to do.  So focus while you practice and practice slowly (#4 below!) so that you play things correctly much more often than incorrectly.  This will help you learn faster.  It takes a lot of extra time and effort to unlearn something, then relearn it correctly.
  2. Practice expressively from the beginning.  Make the articulation, dynamics and phrasing a part of your mental picture of a piece as soon as possible.  Try to identify important moments in a piece (an interesting change of harmony, or the return of a theme, or the arrival of a new theme) and be aware of them as you learn.
  3. Incorporate relaxation moments.  Whether the music is easy or difficult, diffuse the tension by finding places and ways to relax your hands.  Make these relaxation moments a part of how you learn a piece of music.
  4. Practice slowly.  This is a great secret we can all learn from the great pianists.  They all practice slowly.  Why?  With slow practice you can be in control of every technical and musical detail.  If you practice well slowly, you will be amazed to find how much easier it becomes to play well in any tempo.
  5. Stagger your work.  It’s good practice to work on something for awhile, turn your attention to something else, then come back.  This keeps things fresh and helps to solidify what you have learned.

All this matters not at all if you don’t practice, so make your piano practice an enjoyable part of your daily routine.  The more you improve, the more likely you are to enjoy playing the piano!

Meet the Great Pianists: Martha Argerich

The legendary Argentine pianist Martha Argerich recently celebrated her 75th birthday.  A phenomenal natural talent, she won two major international competitions at age 16, then returned at age 24 in 1965 as the gold-medal winner of the Chopin International Competition in Warsaw.  Since then, she has never been off the international stage, thrilling audiences with her bravura technique and intuitive musicality as a solo and chamber musician.  Enjoy the young, blazing, Martha Argerich performing Chopin’s Scherzo in c# minor, Op 37.

Why learn to play a musical instrument?

Is there a reason to take the years of time and effort to learn to play a musical instrument, other than the pure pleasure of enjoying music?  If you care about brain development, there definitely is!

Making music is a remarkable “whole-brain” activity that incorporates fine muscle control with visual and auditory processing, as well as analytical thinking and emotional involvement.  And if you perform, the stakes are even higher, with  memory, concentration under pressure, and communication with the audience all being important factors.

Watch the fun video below and see what happens to your brain on music!